XV

One afternoon, about the end of September, Hubert came down from his study

about tea-time, and announced that he had written the last scene of his

last act. Emily was alone in the drawing-room.

'Oh, how glad I am! Then it is done at last. Why not write at once and

engage the theatre? When shall we go to London?'

'Well, I don't mean that the play could be put into rehearsal to-morrow. It

still requires a good deal of overhauling. Besides, even if it were

completely finished, I should not care to produce it at once. I should like

to lay it aside for a couple of months, and see how it read then.'

'What a lot of trouble you do take! Does every one who writes plays take so

much trouble?'

'No, I'm afraid they do not, nor is it necessary they should. Their plays

are merely incidents strung together more or less loosely; whereas my play

is the development of a temperament, of temperamental characteristics which

cannot be altered, having been inherited through centuries; it must

therefore pursue its course to a fatal conclusion. In Shakespeare---- But

no, no! these things have no interest for you. You shall have the nicest

dress that money can buy; and if the play succeeds----'

The girl raised her pathetic eyes. In truth, she cared not at all what he

talked to her about; she was occupied with her own thoughts of him, and

just to sit in the room with him, and to look at him occasionally, was

sufficient. But for once his words had pained her. It was because she could

not understand that he did not care to talk to her. Why did she not

understand? It was hard for a little girl like her to understand such

things as he spoke about; but she would understand; and then her thoughts

passed into words, and she said--

'I understand quite as well as Julia. She, knows the names of more books

than I, and she is very clever at pretending that she knows more than she

does.'

At that moment Mrs. Bentley entered. She saw that Emily was enjoying her

talk with her cousin, and tried to withdraw. But Hubert told her that he

had written the last act; she pretended to be looking for a book, and then

for some work which she said had dropped out of her basket.

'If Emily would only continue the talking,' she thought, 'I should be able

to get away.' But Emily said not a word. She sat as if frozen in her chair;

and at length Mrs. Bentley was obliged to enter, however cursorily, into

the conversation.

'If you have written out _The Gipsy_ from end to end, I should advise you

to produce it without further delay. Once it is put on the stage, you will

be able to see better where it is wrong.'

'Then it will be too late. The critics will have expressed their opinion;

the work will be judged. There are only one or two points about which I am

doubtful. I wish Harding were here. I cannot work unless I have some one to

talk to about my work. I don't mean to say that I take advice; but the very

fact of reading an act to a sympathetic listener helps me. I wrote the

first act of _Divorce_ in that way. It was all wrong. I had some vague

ideas about how it might be mended. A friend came in; I told him my

difficulties; in telling them they vanished, and I wrote an entirely new

act that very night.'

'I'm sorry,' said Mrs. Bentley, 'that I am not Mr. Harding. It must be very

gratifying to one's feelings to be able to help to solve a literary

difficulty, particularly if one cannot write oneself.'

'But you can--I'm sure you can. I remember asking your advice once before;

it was excellent, and was of immense help to me. Are you sure it will not

bore you? I shall be so much obliged if you will.'

'Bore me! No, it won't bore me,' said Mrs. Bentley. 'I'm sure I feel very

much flattered.' The colour mounted to her cheek, a smile was on her lips;

but it went out at the sight of Emily's face.

'Then come up to my study. We shall have just time to get through the first

act before dinner.'

Mrs. Bentley hesitated; and, noticing her hesitation, Hubert looked

surprised. At that moment Emily said--

'May I not come too?'

'Well, I don't know, Emily. You see that we wish to see if there is

anything in the play that a young girl should not hear.'

'Always an excuse to get rid of me. You want to be alone. I never come into

the room that you do not stop speaking. Oh, I can bear it no longer!'

'My dear Emily!'

'Don't touch me! Go to her; shut yourself up together. Don't think of me. I

can bear it no longer!' And she fled from the room, leaving behind her a

sensation of alarm and pity. Hubert and Mrs. Bentley stood looking at each

other, both at a loss for words. At last he said--

'That poor child will cry herself into her grave. Have you noticed how

poorly she is looking?'

'Not noticed! But you do not know half of it. It has been going on now a

long time. You don't know half!'

'I have noticed that things are not settling down as I hoped they would. It

really has become quite dreadful to see that poor face looking

reproachfully at you all day long. And I am quite at a loss to know what's

the right thing to do.'

'It is worse than you think. You have not noticed that we hardly speak

now?'

'You--who were such friends--surely not!'

Then she told him hurriedly, in brief phrases, of the change that had taken

place in Emily in the last three months. 'It was only the other night she

accused me of going after you, of having designs upon you. It is very

painful to have to tell you these things, but I have no choice in the

matter. She lay on her bed crying, saying that every one hated her, that

she was thoroughly miserable. Somehow she seems naturally an unhappy child.

She was unhappy at home before she came here; but then I believe she had

excellent reasons,--her mother was a very terrible person. However, all

that is past; we have to consider the present now. She accused me of having

designs on you, insisting all the while that every one was talking about

it, and that she was fretting solely because of my good name. Of course, it

is very ridiculous; but it is very pitiful, and will end badly if we don't

take means to put a stop to it. I shouldn't be surprised if she went off

her head. We ought to have the best medical advice.'

'This is very serious,' he said. And then, at the end of a long silence, he

said again, 'This is very serious--perhaps far more serious than we think.'

'Not more serious than I think. I ought to have spoken about it to you

before; but the subject is a delicate one. She hardly sleeps at all at

night; she cries sometimes for hours; she works herself up into such fits

of nervousness that she doesn't know what she is saying,--accuses me of

killing her, and then repents, declaring that I am the only one who has

ever cared for her, and begs of me not to leave her. I do assure you it is

becoming very serious.'

'Have you any proposal to make regarding her? I need hardly say that I'm

ready to carry out any idea of yours.'

'You know what the cause of it is, I suppose?'

'I do not know; I am not certain. I daresay I'm mistaken.'

'No, you are not; I wish you were--that is to say, unless---- But I was

saying that it is most serious. The child's health is affected; she is

working herself up into an awful state of mind; she is losing all

self-control. I'm sure I'm the last person who would say anything against

her; but the time has come to speak out. Well, the other day, when we were

at the Eastwicks, you took the chair next to mine when she left the room.

When she returned, she saw that you had changed your place, and she said to

Ethel Eastwick, "Oh, I'm fainting. I cannot go in there; they are

together." Ethel had to take her up to her room. Well, this morbid

sensitiveness is most unhealthy. If I walk out on the terrace, she follows,

thinking that I have made an appointment to meet you. Jealousy of me fills

up her whole mind. I assure you that I am most seriously alarmed. Something

occurs every day--trifles, no doubt; and in anybody else they would mean

nothing, but in her they mean a great deal.'

'But what do you propose?'

'Unless you intend to marry her--forgive me for speaking so plain--there is

only one thing to do. I must leave.'

'No, no; you must not leave! She could not live alone with me. But does she

want you to leave?'

'No; that is the worst of it. I have proposed it; she will not hear of it;

to mention the subject is to provoke a scene. She is afraid if I left that

you would come and see me; and the very thought of my escaping her

vigilance is intolerable.'

'It is very strange.'

'Yes, it is very strange; but, opposed though she be to all thoughts of it,

I must leave.'

'As a favour I ask you to stay. Do me this service, I beg of you. I have

set my heart on finishing my play this autumn. If it isn't finished now, it

never will be finished; and your leaving would create so much trouble that

all thought of work would be out of the question. Emily could not remain

alone here with me. I should have to find another companion for her; and

you know how difficult that would be. I'm worried quite enough as it is.' A

look of pain passed through his eyes, and Mrs. Bentley wondered what he he

could mean. 'No,' he said, taking her hands, 'we are good friends--are we

not? Do me this service. Stay with me until I finish this play; then, if

things do not mend, go, if you like, but not now. Will you promise me?'

'I promise.'

'Thank you. I am deeply obliged to you.'

At the end of a long silence, Hubert said, 'Will you not come up-stairs,

and let me read you the first act?'

'I should like to, but I think it better not. If Emily heard that you had

read me your play, she would not close her eyes to-night; it would be tears

and misery all the night through.'